| 赛戏假面仪式考 |
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| 引用本文： | 李佳.赛戏假面仪式考[J].山西大同大学学报（社会科学版）,2014(1):48-50. |
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| 作者姓名： | 李佳 |
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| 作者单位： | 山西大同大学文学院,山西大同037009 |
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| 基金项目： | 山西省高等学校哲学社会科学研究项目“傩文化与晋北赛戏仪式研究”（20l12208） |
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| 摘 要： | 古老的赛戏仪式源于蜡傩祭礼的传统,面具装扮发端于祭祀礼仪的假面舞蹈和假面戏剧。作为神灵依附的载体,面具是重要的象神之物。在赛祭和脸戏、队戏演出中所执仪物竹竿子,也就是赛戏砌末里的竹扫帚,其作用相当于"掌竹"、"前行"。这些我国古代宗教祭祀观念的历史遗存,至今仍保存于晋北特定地区的宗教民俗活动中,也清晰地表现出赛戏作为傩戏的独特面貌。
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| 关 键 词： | 假面 砌末 傩戏 祭祀 |
On the Mask Ceremony in Sai Opera |
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| LI Jia.On the Mask Ceremony in Sai Opera[J].Journal of Shanxi Datong University(Social Science Edition),2014(1):48-50. |
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| Authors: | LI Jia |
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| Institution: | LI Jia (School of Liberal Arts, Shanxi Datong University, Datong Shanxi, 037009) |
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| Abstract: | The Sai opera originated in Nuo opera, its use of mask dated back to worship ceremony and mask drama. As a carrier of gods, mask is very important. The function of broom in Sai opera and bamboo pole in Lian Opera and Dui opera equals to＆quot;Zhangzhu＆quot; and ＆quot;Qianxing＆quot;. These historical concepts of China＆#39;s worship ceremony still exist in the folk activities in some areas of northern Shanxi and clearly shows the unique feature of Sai opera. |
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| Keywords: | mask stage properties Nuo opera worship ceremony |
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